DOCSLIB.ORG

Guide to the Sam Devincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to the Sam Devincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars Guide to the Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars NMAH.AC.0300.S06 NMAH Staff Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 4 Container Listing ............................................................................................................. 5 Subseries 6.1: Academy Award Songs.................................................................... 5 Subseries 6.2: Child Stars....................................................................................... 8 Subseries 6.3: Dance Folios, 1929-1942............................................................... 14 Subseries 6.4: Disney Productions and Other Cartoon Movies............................. 14 Subseries 6.5: Female Stars.................................................................................. 18 Subseries 6.6: Male Stars...................................................................................... 46 Subseries 6.7: Movie Music................................................................................... 71 Subseries 6.8: Silent Films.................................................................................... 91 Subseries 6.9: Songs About the Movies................................................................ 98 Subseries : Ephemera.......................................................................................... 102 Subseries : Duplicates.......................................................................................... 103 Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars NMAH.AC.0300.S06 Collection Overview Repository: Archives Center, National Museum of American History Title: Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars Identifier: NMAH.AC.0300.S06 Date: 1911-1986 Extent: 42 Flat boxes Creator: DeVincent, Sam, 1918-1997 Language: English . Summary: Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age. Series 6: Moving Pictures and Movie Stars forms part of the DeVincent collection. An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music. Digital Image(s): Moving Pictures and Movie Stars Content: Administrative Information Acquisition Information This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent. Materials in Other Organizations Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City. Materials in the Archives Center, National Museum of American History Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211) Forms Part Of Series 6: Moving Pictures and Movie Stars forms part of the Sam DeVincent Collection of Illustrated American Sheet Music. Page 1 of 104 Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars NMAH.AC.0300.S06 An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal. Preferred Citation The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution Restrictions Collection is open for research. Conditions Governing Use Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Scope and Contents Subseries 1: Academy Award Songs, contains the song sheets of academy award winning movies from 1934 1986. The songs are listed chronologically and the movie and movie stars are listed in the container list. This subseries also contains four academy award winning movie scores, a grammy award winning instrumental theme, a Cannes Film Festival winner, and the song composed for the 50th anniversary of the Academy of Motion Picture Arts and Sciences. Professional music sheets, which are intended for use by professional singers only and do not have illustrated covers, are in the last folder. Subseries 2: Child Stars, begins with a folder on minor child actors and then lists the major stars alphabetically. Many of the minor stars are from the silent film era and the song sheets are not associated with their movies. Instead the actor's image appeared on the cover to help promote the song. In those cases the song title and publishing year are listed. If the song is in a movie with the child star, the movie title and year are listed. The material for the major stars is organized by movies, recorded songs, professional music sheets, and song folios for each of the stars. The list states when a song is reissued in a movie that does not feature the original child actor. The last folder contains nonspecific song folios of child star music. Subseries 3: Dance Folios, contains publications of movie music composed for paino with banjo, ukulele, and guitar accompaniment. The music is selected from various movies and the stars' images are included in some of the folios. The words to the songs are not always provided. The folios are organized alphabetically by publishing company and the copyright year (if printed) and the folio title are listed. There are several editions of Robbins M.G.M. Hollywood Dance Folios without publishing dates that are arranged by volume number. Subseries 4: Disney Productions and Other Cartoon Movies, includes song sheets from Walt Disney movies, cartoons, and series as well as material from movies not produced by Disney. Mickey Mouse songs and songs written about or for Mickey have separate folders. Movies released by Paramont Pictures are grouped together and this sub subseries includes all Popeye songs because Paramont made the recent movie Popeye starring Robin Williams. Cartoon movies produced by other companies are classified togther, and Li'l Abner and Little Orphan Annie fall in this category. The unillustrated professional music sheets and song folios for Disney music are held in the last two folders. Page 2 of 104 Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars NMAH.AC.0300.S06 Subseries 5: Female Stars, is arranged alphabetically by star. Sam DeVincent created separate files for certain stars, and subseries five and six organize those folders. The song sheets for each star are ordered chronologically by the year of the movie. When the star's image appears on the covers of songs not played during a movie, the year and song title are listed. This occurs most often with the silent film stars. Many actresses are not found in this series because the material of the collection focuses more on their early recorded or Vaudville songs. Examples are Doris Day, Frances Langford, Billie Burke, and Evelyn Nesbit. The material will be included in the upcoming series on performers. The division of male/ female acting teams is also based on the focus of the material. The Gracie Allen and George Burns song sheets are from their movies together so they are placed as a team in this subseries. The movies Joan Blondell and Jeanette MacDonald featured in without Dick Powell and Nelson Eddy are in this subseries, but the movies of the couples are contained in subseries 6.6. Since there are few song sheets from Janet Gaynor's movies without Charles Farrell, all of the material on Janet Gaynor is in subseries 6.6. Other references can be useful for finding movies a star appeared in, but the song sheets are in the costar's folder. There are very few professional copies in this subseries, so they incorporated with the popular song sheets. The content list only mentions professional copies if there are no popular song sheets for the movie. A single song folio also does not have its own folder. Subseries 6: Male Stars, has the same arrangement and conditions as subseries 5. Unfortunately this subseries does not include the material for Fred Astaire, Bing Crosby, Eddie Cantor, Eddie Fisher, Russ Columbo, Frank Sinatra, and Rudy Vallee. The sheet music in these files are of the star's recorded songs more than the songs performed in movies, therefore the entire collection has been reserved for the upcoming series on performers. Be sure to note these and other references. Subseries 7: Movie Music, is the series for all song sheets that did not fit in any other category. The movies are listed in alphabetical order and the
Load more

Recommended publications
  • Crawford at Large Libraries • Policy • Technology • Media
    Cites & Insights Crawford at Large Libraries • Policy • Technology • Media Sponsored by YBP Library Services Volume 5, Number 7: May 2005 ISSN 1534-0937 Walt Crawford fenses are ones that I would argue are always ©3 Perspective deliberately infringing in nature and closely linked to true piracy (widespread commercial FMA: Watching the infringement). The first is unauthorized re- Way You Want cording of motion pictures in a theater— using a camcorder to record a copy from the Congress passed the Family Entertainment and Copy- screen. Possession of a camcorder within a right Act within the last few weeks. By now, it’s proba- movie theater may be considered as evidence bly been signed into law. My thoughts are intertwined toward a conviction but isn’t by itself a crime. with those I’m quoting, as usual. The second new crime is infringement of a work being prepared for commercial distribu- The Family Entertainment and tion—which strikes at the heart of “insider pi- Copyright Act of 2005, S.167/HR357 racy,” where a record or movie studio I printed and saved this bill back in February— employee sneaks an advance copy to pirates. checking to see that the Senate and House bills were The crime must involve commercial advan- identical—because a Cnn.com article noted that the tage or private financial gain; reproduction or legislation was likely to move fast and because it ap- distribution alone is not enough to prove the peared to include the least controversial aspects of the crime. The second also comes with a proce- omnibus copyright bill from last Fall.
    [Show full text]
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Online Versions of the Handouts Have Color Images & Hot Urls September
    Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B.
    [Show full text]
  • Vigil Against Hate Brings Call for All to Stand Together by WILLIAM K
    CYAN MAGENTA YELLOW BLACK » TODAY’S ISSUE U DAILY BRIEFING, A2 • TRIBUTES, A5 • WORLD, A6 • CLASSIFIEDS, B6 • PUZZLES, C3 COMING UP ACES IN VALLEY EVENT FINE-TUNING FOR SEASON PPluchPluPluchinsky,lu Rogner win Greatest titles Browns host Giants tonight on national TV SPORTS | B1 SPORTS | B1 50% OFF vouchers. SEE DETAILS, A2 8 M D ORE RVE THA S SE N 14,000 VALLEY GOLFER FOR DAILY & BREAKING NEWS LOCALLY OWNED SINCE 1869 MONDAY, AUGUST 21, 2017 U 75¢ Valley venues host viewing events today YOUNGSTOWN NIKOS FRAZIER | THE VINDICATOR The Rev. Neil C. Heller speaks during the Vigil Against Hate, hosted by Valley Voices United for Change at First Unitarian Universalist Church of Youngstown on Sunday. Vigil Against Hate brings call for all to stand together By WILLIAM K. ALCORN THIS IS NO TIME [email protected] TO STAND ON ECLIPSE YOUNGSTOWN With the backdrop of ra- THE SIDELINES. cially motivated violence I CHALLENGE YOU TO FIND in Charlottesville, Va., only YOUR TEAM AND GET TO a week ago, Sunday’s Vigil Against Hate at First Unitar- WORK CHANGING THE ian Universalist Church on WORLD.” the North Side was a call to action for everyone to stand Christopher Anderson, MANIA up against racism and in- Mahoning County By JORDYN GRZELEWSKI justice. Young Democrats [email protected] Three people died and YOUNGSTOWN SOLAR ECLIPSE EXPLAINED many were injured during a the violence. S THE MOON COVERS THE SUN white nationalist rally. Killed “What brought us togeth- today during the fi rst solar eclipse When the moon passes between the sun and Earth, the sun is masked and the sky ddarkenedarkened fforor viewers directldirectlyy behind the moon’s inner shadow or umbra.
    [Show full text]
  • Whose Chopin? Politics and Patriotism in a Song to Remember (1945)
    Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest).
    [Show full text]
  • Understanding Steven Spielberg
    Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1.
    [Show full text]
  • Through the Iris TH Wasteland SC Because the Night MM PS SC
    10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
    [Show full text]
  • A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
    A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita.
    [Show full text]
  • Wglsspw$Kmzi$Fego$Xs$Zixiverw Anchors Aweigh
    Gulf Breeze High School Drama presents *V.I.P TICKETS Meet the cast! Saturday 6:30 -7:30 ’s Sunday 1:30 -2:00 Disney Tickets On Sale NOW! $15 $25 $35 *V.I.P. Saturday Sunday Nov 22nd Nov 23nd 7:30 pm 2:30 pm November 13, 2014 YOUR COMMUNITY NEWSPAPER 75¢ Voters nix tax increase lot to help Now the county is faced with look- BY MAT PELLEGRINO Gulf Breeze News build a new ing at other ways to help preserve the [email protected] More inside judicial fa- current courthouse, or other avenues We did our job. I did my job. See the complete list cility, which to pursue to build a new structure. The voters of Santa Rosa County of unofficial election would have “We can always go out for another We got it on the ballot. I can’t have spoken. The sales tax will remain results, 2, 3A. cost taxpay- vote for another local option sales tax at 6.5 percent. ers around in two years,” said Santa Rosa County control what happens after that. That was the big news coming out of $50 million Commissioner Lane Lynchard. “We the Santa Rosa County Supervisor of to build. The can see if we can impress upon the vot- Elections ofice late last Tuesday night. sales tax increase would have- suners that we need this courthouse. Its’ – Bob Cole Voters nixed the one-cent sales tax setted after five years, or earlier,- goingde to happen one way or another.” increase by 6,114 votes. The one-pending on when the county was able Santa Rosa County commissioner on the judicial facility election results cent sales tax increase was on the bal- to pay off the facility.
    [Show full text]
  • The Transnational Sound of Harpo Marx
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo.
    [Show full text]
  • Andztjf Aa>Velroztt: I
    * them later for five times that sum, a Author Protection [Sergt. Kelly Writes Movie and gaining tremendous profits Steps Being Taken from the fact that the popular sale With Grenades and His Gun HOLLYWOOD. of the novel made the Him a much Some recourse for an author who By JAY CARMODY. more valuable property. Authors' sells picture rights to a while Journalism department: Just which movie studio keeps its eye story agents are now stipulating a cut on most unrovingly glued to the front page is for more research minded It is still In galley proofs, and later film profits, to know, but this commentator thinks it mast ~ people certainly must be sees his price become a pitiful part 20th AMUSEMENTS. Century-Fox. of what he could have collected If That entertainment over huge factory, presided by inactive Col. he had waited for publication and Darryl Zanuck. has Just turned away from its favorite newspaper with successful Is -.—__— sales, being planned at the story of Sergt. Edward (Com- __ last, mando* the lad a. Kelly, Pittsburgh leave, not because the job has not Typical of inequities to an author wmm a lark u who had such Ger- killing gw \\ !¥J been an entirely happy one, and the was the case of Margaret Mitchell mans in As a pn rvTTi Italy. result, Sergt. associations pleasant, but because and "Gone With the Wind.” The has $25,000. the goes, 4 • Kelly report he never liked the idea of to screen rights $50,000 with wet it with Canute TTatet. A having brought m Simply to add now to the other laurels he tell his son few later that he spent the the film owner refusing a sale of applications will completely fe- a Canute Water won by virtue of being sort of war » color it similar to its former natural presiding over a cocktail lounge.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]